Binetti and Saba's Trilogy confronts three moments of Argentine political history of the last hundred years, through three different groups of people that carry out artistic activities. A metatheatricality is exposed and includes the artists and their efforts in doing their art. On the other hand, this metatheatricality is in tension with the circumstances of the external world that reach us in the form of commentaries and noises coming from off-stage: the Peronist hymn that comes with Evita´s train, the turmoils with the death of Irigoyen and the Centenary of the Independence celebration. The tense articulation between these two dimensions –the metatheatrical and the off-stage– reveals meaningful interpretations of the play.